Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Posts Tagged ‘1979


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4517 Post No. : 16072

‘Jeena Yahaan’ (1979) haa an impressive list of actors of the new wave films but I do not recall having read or heard about this film. So, I recently watched this film on a video sharing platform. The story of the film was interesting and was in keeping with Basu Chatterjee’s favourite subject – the lives of middle-class people in urban setting.

‘Jeena Yahaan’ (1979) was produced under the banner of Jamu Productions and was directed by Basu Chatterjee. The star cast included Shabana Azmi, Shekhar Kapoor, Amol Palekar, Zarina Wahab, Dina Pathak, Kiran Vairale, Vidya Sinha, Devendra Khandelwal, Arvind Deshpande etc. The film was based on a short story written by a well-known Hindi writer, Mannu Bhandari. Incidentally, Basu Chatterjee’s ‘Rajnigandha’ (1974) was also based on Mannu Bhandari’s short story, ‘Yahi Sach Hai’. She has also written screen-play of the film ‘Swaami’ (1977), directed by Basu Chatterjee. Incidentally, Basu Chatterjee’s maiden directorial venture, ‘Saara Aakash’ (1969) was based on the first part of Rajendra Yadav’s novel of the same name. Rajendra Yadav is the husband of Mannu Bhandari.

Mannu Bhandari is one of the pioneers of Hindi literary movement called ‘Nayi Kahaani’ (New Story). Under this movement, stories are written based on the real-life experiences. She generally writes short stories on middle class women who is financially independent and intellectually capable to share the responsibilities on equal footing with men. Most of the character in her short stories are woman-centric. I have given story-writer’s background just to give an idea as to how the story in the film unfolds.

Shekhar (Shekhar Kapoor) and Lekha (Shabana Azmi) are from small towns who had made Mumbai their work place. Both are in love with each other and wants to get married. But their families are against this marriage because both belong to different castes. One day, both of them get married under Special Marriage Act, without the knowledge of their respective parents and start living in a small rented tenement. In the evening they spend time with their theatre friends with Sushma (Zarina Wahab) and Dinesh (Amol Palekar) being part of their friend circle, among others.

Sushma and Dinesh love each other but Sushma’s father is against this marriage. The real cause for the opposition to the marriage is that Sushma is the only bread-winner for the family, her father being unemployed for months. Both of them are encouraged by Shekhar and Lekha to get registered marriage which they follow and a date is decided for the registered marriage. In the group, there is Sipra (Vidya Sinha) who has lost her husband at a very young age with a small kid to look after. Lekha encourages her to start a play school for the small children and arranges the students and a place to start the play school. She is helped by her theater friends. (I think, the characters of Sushma, Dinesh and Sipra have been introduced just to jextapose the problems which have been faced by Shekhar and Lekha).

In all these efforts and also due to change of climate from town to Mumbai, Lekha is not keeping good health. Shekhar advises her to visit his parent’s house in a small town for few days for a change which she reluctantly agrees. Earlier, she had visited the place with Shekhar after the marriage for a very short stay. This time, Lekha stays for a longer period and during the initial period, she is quite happy with open sky, greenery all around and more importantly, the easy life away from the hustle bustle of Mumbai.

Within a few days of her stay, Lekha realises that all is not well in the house. The house has been divided into two parts with one part being occupied by Shekhar’s uncle and his family. Shekhar’s house is run by his mother (Dina Pathak) and Lekha’s mother-in-law (here after I will call her as ‘matriarch’) who is the final decision-maker in the house. Her father-in-law (Arvind Deshpande) has no say in the running of the house.

Shekhar’s younger brother, Shanker who is studying for BA wants to change his spectacles as his number has changed and he is getting head-ache. But his mother is not prepared to spend money for a new spectacles. On the other hand, she is prepared to spend money for some rituals to be conducted by a swami. Lekha tries to convince the matriarch by saying that Shankar’s study will be affected but it is of no use as she thinks that Shanker wanted to change the spectacle for more fashionable frame. (This shows the misplaced priorities for spending money in a rural/semi-urban setting).

In the house, the elder daughter-in-law who has become widow is looked down by the mother-in-law. Her younger brother, Diwakar (Devendra Khandelwal) occasionally visit her widow sister in the pretext of enquiring her well-being. But the real reason for this visit is to meet Gauri (Kiran Vairale), the younger sister of Shekhar. Both like each other but the matriarch is against Gauri meeting him since he happens to be the brother of her elder daughter-in-law whom she hates. With all these problems, Lekha feels suffocated even under the vast open place and a leisure life. She thinks of returning to Mumbai.

The matriarch finally decides to get Gauri married to a widower who is almost double the age of Gauri. Lekha tries to convince the matriarch that Gauri should get married to Diwakar who not only loves Gauri, but is also educated. Again, the matriarch has her own way and fix the date for Gauri’s marriage with a widower. Lekha is frustrated. She has to stop this marriage. Since Lekha has already decided to return to Mumbai, she tells both Gauri and Diwakar to run away from the town and board the same train in which she is returning to Mumbai. While Gauri agrees, Diwakar develops cold feet and politely refuse to become the part of the escape to Mumbai with Gauri. Lekha has no option but to take Gauri with her to Mumbai to stop her forcible marriage to a aged widower. In this plan, she takes into confidence, the matriarch’s sister-in-law and her elder daughter-in-law.

In Mumbai, Sushma and Dinesh have got married and are staying in Shekhar’s house while Lekha was out of Mumbai. They are happy as their parent have reconciled to the marriage. Shekhar and Lekha offer Dinesh and Sushma to continue to stay in their house until they find a house for themselves. She consoles Gauri that they will look for a suitable bridegroom for her in Mumbai. The film ends with Lekha’s dialogues as under:

‘Hum log yahin achche hain.
Ye muthi bhar aasmaan, ye chhoti si jagah
Lekin yahaan din mein hosla to hai’

[We are happy here (in Mumbai).
A fistful of sky, a small room.
But here there is an encouragement to survive].

I liked two aspects of the film. First, the director has refrained from showing the usual quarrelsome relationship between mother-in-law (Dina Pathak) and the daughter-in-law, Lekha (Shabana Azmi). The villainous elements in mother-in-law is visible but these do not turn into conflicts as Lekha treats her mother-in-law as a product of a small town and understands her psychology. Mother-in-law on the other hand restrains herself while dealing with Lekha as she realises that Lekha is not only financially independent but she is also educated to deal with such situations.

The second aspect of the film which I like is that there is element of realism when Lekha plans the escapes of Gauri and Diwakar to get married in Mumbai by registered marriage. That Diwakar develops cold feet to this plan is in keeping with the psychology of the small town where societal pressure can make the life of his parents miserable if he runs away with a bride to be. Whether Diwakar would eventually comes to Mumbai to get married to Gauri or not has been kept open in the film with a dialogue that if Diwakar does not turn up, Lekha and her friends would arrange for a suitable bridegroom for her.

The entire film is centered around the character of Shabana Azmi with Dina Pathak getting a fairly good exposure in the film. Shekhar Kapoor has early presence in the film. But during Lekha’s visit to town, he is no whre to be seen in the film. Finally, he comes back in the frame only towards the end of the film. The performance of Kiran Vairale as Gauri is very good despite this being her maiden film as per the credit titles. Rest of the cast like Amol Palekar, Zarina Wahab, Vidya Sinha, are guest artists in the film.

This film reminded me that there was an adorable actress, Kiran Vairale who has left her mark in the films like ‘Naram Garam’ (1981), ‘Saath-Saath’ (1982), ‘Namkeen’ (1982), ‘Lorie’ (1984), ‘Saagar’ (1985) etc, suddenly vanished from the Hindi films. I checked her filmography and came to know that she has not been seen in films after 1986.

The only personal information I knew about Kiran Vairale at the time of her entry into films was that she was the daughter of Madhusudan Vairale, who was a cabinet minister in Government of Maharashtra and later a Member of Parliament of Indian National Congress from Akola. I found an interview of her, published in E-Times of India, January 28, 2017 which gave me some idea about her filmy career and why she left the films sometime in mid-1980s.

Kiran Vairale was exposed to acting for the first time in 1972 when she was in class XI at St. Anns High School, in Fort, Mumbai. Farooque Shaikh who was to direct a short play for the school, came to her class and out of of those called for audition, she was selected for the lead role in a 45-minute play, ‘Mirza Sahibaan’. After her matriculation, Kiran Vairale joined St Xavier’s College where Farooque Shaikh had studied and had formed Hindi drama/music group. She participated in inter-college dramas.

It was her association with IPTA from 1975 to 1984 which gave Kiran Vairale to brush up her acting. In IPTA, she did four plays with Farooque Shaikh, one among them was ‘Doosra Aadmi’ by Sagar Sarhadi. Later, the play was made into a film by Yashraj Films in 1977 in which she had a side role. Due to her IPTA connection, she got roles in many films during 1977-84, most of which were from top banners.

During her short tenure in Hindi films (1977-86), Kiran Vairale acted in 19 films some of which I have already mentioned above. In addition, she worked in one Kannada film ‘Pallavi Anu Pallavi’ (1983). In most of the films, she got the side roles like hero’s sister or heroine’s friend.

Sometime in the middle of 1980s, Kiran Vairale got married to Syed Fahd Asad Mumtaz, a nephew of Dilip Kumar (his sister, Taj Mumtaz’s son) and migrated to USA. Presently, Kiran Vairale (now Kiran Mumtaz) owns and runs one of the largest immigrant-based recruitment advertising agencies in New York.

Since I have also discussed Kiran Vairale in the article, I am presenting the song, ‘o shaam aayi rango mein rangi huyi’ from ‘Jeena Yahaan’ (1979), sung by Lata Mangeshkar which is picturised on Kiran Vairale. The song is written by Yogesh which is set to music by Salil Chowdhury.

It is a boat song in which Shabana Azmi is seen along with Devendra Khandelwal (Kiran Vairale’s love interest in the film) and Desh Maheshwari in the role of Kiran Vairale’s brother.

This is the second song of the film (out of 3 songs) to appear on the Blog. The video clip has got full song but sound quality is not so good while audio clip does not have 3rd antara of the song but sound quality is good.

Video Clip:

Audio Clip:

Song-Ho o o shaam aayi rangon mein rangi huyi (Jeena Yahaan)(1979) Singer-Lata, Lyrics-Yogesh, MD-Salil Chaudhary

Lyrics(Based on Video Clip)(Provided by Prakashchandra)

Ho o o shaam aayi rangon mein rangi huyi
paayal vaayal mere paanvon mein
koyi baandho laake nayi nayi
o o shaam aayi ee
rango nmein rangi huyi
paayal vaayal mere paanvon mein
koyi baandho laake nayi nayi
o shaam aayi ee
rangon mein rangi huyi

mujhe koyi nayi chunri dila do
mere liye naya kangna koyi laa do
ye soone se maathhe pe
kare cham cham kumkum ki
tum aisi koyi bindiya laga do
ho o o shaam aayi rangon mein rangi huyi

ye jaadoo kaisa hai jaanoon na
lage mujhe ye to jeewan mera sona
ye jaadoo kaisa hai jaanoon na
lage mujhe ye to jeewan mera sona
saja le tu nainon mein
dheere dheere ore manwa mere
koyi ek sapna salona
ho o shaam aayi ee
rangon mein rangi huyi

mere mann ki aasha adhoori
hogi ik din ye to kahin poori
mere mann ki aasha adhoori
hogi ik din ye to kahin poori
kabhi na main bhooloongi
sang sang tere saathi mere
beete ye jo shaam sindoori
ho o shaam aayi ee rangon mein rangi huyi
paayal vaayal mere paanvon mein
koyi baandho laake nayi nayi
ho o shaam aayi ee rangon mein rangi huyi


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4412 Post No. : 15811 Movie Count :

4358

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#the Special Voices of the Decade (1971-1980) – 7 # Hemlata #
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The movie ‘Ankhiyon Ke Jharokhon Se’ was released in 1978 but I got to watch it much later, in the early eighties, and that too on Doordarshan when I had gone to Nagpur to my Uncle’s place.

Later on, I watched it when I had ‘colour TV’ at home.

I had never forgotten its title song sung by a ‘female singer’. That was despite the fact that kids of my age (around ten years old) normally did not give much thought to the singer while listening to songs.

When I think about it now, it was in 1976 that the song ‘sun ke teri pukaar’ from ‘Fakira-1976’ had caught my imagination, ( I have shared this in the blog earlier).

It is my guess that the aalaap of this voice in the song ‘kaun dishaa mein leke chalaa re batohiyaa’ must have left a magical effect on many music lovers, not all of them of an impressionable age unlike me. Another song from the same singer from another movie , namely ‘le to aaye hon hamen sapnon ke gaaon mein’ leaves the same effect on listeners. There are several other songs like this, some of them being:-

Tu jo mere sur mein sur milaa le , Suman samaan tum apna , Khushiyaan hi khushiyaan ho daaman mein jiske, Sona kare jhilmil jhilmil , Wafaa jo na ki to , Bachpan mohe picche bulaaye or duniya se door nayi ek duniya from the same movie…

And then the following songs from the movie ‘Ankhiyon Ke Jharokhe Se’;

ankhiyon ke jharokhon se or bade badaai na karen …

or this one from ‘Sunaynaa’

kaisi hoon main goongaa darpan kuchh bhi naa boley.

there are many, and many of them are still to come on this blog too.

And all of them had that special voice and they bring back many memories of that era of Hindi movies …

Also who can forget this duet song ‘teesta nadi si tu chanchalaa’ on TV in those years and yet again if we listen the beginning ‘alaap’ by the same female singer it is captivating…

This is voice of – Hemlata.

She was born on 16th August 1954.

Today on this blog we wish her a very happy birthday and a healthy and peaceful life ahead and today we celebrate this special voice under the series ‘special voices of the seventies.

There may not be many of her songs that she sung in those years of seventies or considering an extension up to 1983, the year when I completed my matriculation. But I have fond memories of many of her songs which, as I grow, I came to know are sung by her.

This is the first ‘female voice’, appearing in this series.

Hemlata Jaychand Bhatt or more popularly known to us as Hemlata was born on 16th August, 1954 in a Rajasthani Brahmin family who were settled in Kolkata (Calcutta then).

Her Father was a great classical vocalist and sole representative of the ‘Kirana Gharana’ (in India, after partition) and so music was already there in their family, and she was attracted towards film music from an early age.

However, daughters/girls in the family were not expected to become a singer and take on singing. And, so from the early childhood itself Hemlata’s struggle to become a Singer started having obstacles within family itself.

Her father, who was the only son among eight siblings, and coming from an orthodox Rajasthani Brahmin family where nobody was concerned with music had to struggle and he learn from Ustad Wahid Khan of Lahore – ‘Kirana Gharana’, and with his ‘dedication’ and ‘hard work’ he learned from him and dedicated his life to keep the legacy of the gharana.

But he was against the singing of Hemlata as it was against the traditions of the family.

Hemlata used to sing in School functions, ‘Durga Pooja’ festival – cultural programmes’, however this was without the knowledge of her father. Though her mother and guru bhai were supporting her singing looking into her passion for singing. So, Gopal Mullick, her guru bhai, motivated her to perform on stage.

It was when she was only seven-eight years old that she got an opportunity to sing on stage in public during the ‘Durga Pooja festival’ in Kolkata (program arranged in Ranjeet Stadium) where Gopal Mullick one of her father’s disciple was among the organising member of the programme. And the crowd that witnessed her first stage performance was a huge crowd because of big names like Hemant Kumar, Mohd Rafi, Lata Mangeshkar, and Kishore Kumar were attending to perform in this programme.

Gopal Mullick had also specially invited Hemlata’s father Shri Jaychand Bhatt to attend this programme which little Hemlata was not aware of.
And this was not disclosed to her so that she didn’t fear and shiver on stage.

Her father was also not aware that his own daughter is going to perform on stage that day. He was told that one ‘child prodigy’ would be introduced on stage and he has to observe him/her.

As the three main singers performed and Lata Mangeshkar was to arrive late, Gopal Mullick had this opportunity to introduce little Hema on stage and as she sings her first song the response from the audience was so tremendous, they keep demanding ‘once more’ for this song.
The song was ‘jaago mohan pyaare’ from ‘Jaagte Raho’ and audience didn’t stop until she had already sung it four times and other twelve Bengali songs.

She was awarded a gold medal by Dr Bidhan Chandra Rai the then chief minister of Bengal for her performance that day.

However, her father was not in favour of her singing and instead he advised her that she should focus and complete her studies, then take on to help at home and get married as normally happens in our culture and tradition. Though he agreed for her to take training in classical singing from Gyan Prakash Ghosh a renowned name then in Calcutta and also allowed ‘riyaaz’ at home.

Around the same time, it so happened that the whole family had to visit to meet their relatives in Bombay (around 1966) for her brother’s ‘tablaa’ training and also to meet the relatives who were already staying there in Bombay. They meet Ustad Bade Ghulam Ali Khan, Amir Khan and sister of her father Kamla Pandit.

During their visit to Bombay they meet Ustad Rais Khan, Ustad Allah Rakha where Hemlata was asked to sing few compositions.
Then she was taken to Aziz Nazaan and also a meeting with Naushad Saab was arranged where the great K. Asif was also present. This was all without her knowledge. She was asked to sing few compositions and all of them were so impressed that great Composer Naushad Saab straightway offer her a contract of five years, however during these five years she was supposed to get trained so that this time period would have given a better maturity in her age and in turn in voice also.

However, as the news of Naushad Saab’s offer to a ‘new upcoming singer’ spread, big music directors viz. Roshan, C. Ramchandra, Salil Chaudhary, Usha Khanna, Chitragupta, Laxmikant-Pyarelal, Kalyanji-Anandji visited them in Bombay and demanding that Hemlata sang for them.

As told to RSTV by Hemlata ‘they were too small to say them ‘NO’…

Laxmikant of music duo Laxmikant-Pyarelal told her father that ‘now she is being offered her career on a platter’, after five years nobody knows how things would be in this ever-changing industry’’

Obviously, the contract of five years by Naushad Saab got nowhere.

She sang her first song for Usha Khanna in the movie ‘Roop Rupaiyya-1968’ (this song is yet to appear on the blog 🙂 ). (However, her first released song, also a Usha Khanna composition, from ‘Ek Phool Ek Bhool-1968’ was the first released song).

On the same day of the recording of her first song for a movie she recorded her second song- for none other than Kalyanji-Anandji for the movie ‘Vishwas-1969’ – ‘le chal le chal mere jeewan saathi’. Both songs she recorded on her first day were songs for the ‘heroine’ of the respective movies.

This was the ‘right’ beginning though for an upcoming new singer in those years when no one could have imagined that at such a younger age a singer will get an opportunity to sing in movies and that too when all the great names were already there ruling the field.

In the beginning of her career she used to get to sing for junior artists or few lines and though the very second song she sung was for lead artist/heroine of the movie i.e. Aparna Sen for ‘Vishwas-1969’ she had to wait till 1976 to shot to fame and the song was ‘Sun ke teri pukaar’ from ‘Fakira-1976’.

Before that her voice appears in the so many songs which she sang for child artists then;

‘dus paise mein Raam le lo’ (Ek Phool Ek Bhool-1968) (first song released)

‘chandaa ko dhoondhne sabhi tare nikal pade’ (Jeene Ki Raah-1969)

‘aisa banoonga actor main yaaron’ (Ghar Ghar Ki Kahaani-1970)

‘Fakira-1976’ was followed by ‘Chitchor-1976’ where the song with Yesudas ‘tu jo mere sur mein’ fetch her, her first ‘filmfare’ award for singing.
Thereafter she got to sing many songs and particularly for ‘Rajshri films’ and under music director Ravindra Jain.
Her association with Ravindra Jain has given Hindi Cinema some of the most beautiful compositions and unforgettable songs for people like me who grow in that ear of seventies.

Who can ever forget the title song from the movie ‘ankhiyon ke jharokhon se’, or the songs from ‘Nadiyaa Ke Paar-1982’, there are many such songs and the list will be much longer to present here.

Here I would also like to add her songs, from a lesser known movie ‘Jhoom Utthaa Aakash-1973’, which I got to listen during 2014-2015 and which I like very much. This movie had some nice songs which didn’t get attention may be because of the movie itself was an obscure movie.

Moreover there are many of her songs from lesser known movies (or which I have yet to listen) and need to bring here on the blog. (We are going to listen to one such lesser known number today).

Unfortunately for Hemlata or for us, as she kept getting offers for singing and she was continuing with them. Forces beyond her control were at work as well.Gradually she was getting side-lined and not getting much offers of singing… many bitter things were to happen in due course of time.

Hemlata left Bollywood in 1999 and settled in Mexico where she is running a ‘music academy’ for teaching music and singing. She has sung nearly five thousand songs in ‘forty’ languages around the world . This information that I came up wiuth while preparing this post left me ‘awe-struck’. She also keeps singing in Non-Film albums later and many accomplishments came to her later …

Today, as we wish her a very ‘happy birthday’ here on the blog. We thank her for the beautiful songs she has given to us and many memories associated with those melodies from the ‘decade of seventies – 1971 to 1980’

Here I will stop mentioning the lines of a song sung by her ‘tu is tarah se meri zindagi mein shaamil hai …’

***

For this post I am presenting a song from the 1979 movie ‘Zakhmon Ke Nishaan’. I came across this song more than two years ago when I was looking for a Ravindra Jain-Hemlata song.

I guess this movie ‘Zakhmon Ke Nishaan’ must be an ‘obscure movie’ of its time and it may have been flopped miserably. Neither the movie nor the video of its songs (except couple of songs and few video clips) are available on YT.

“Zakhmon Ke Nishaan-1979” was directed by Diljeet Bagge for ‘V. United, Bombay’. It was produced by M.T. Boxwala. M.K. Baria was his associate. It had Vinod Mehra, Tamanna, Vijay Arora, Ranjeet, Aruna Irani, Padma Khanna, Manmohan Krishna, Purnima, Dhumal, Rajendra Nath, Madan Joshi and Krishan Dhawan, supported by Makhan Singh, Jagdish Raj, Amrit Pal, Rana, Chandu, Pritam Beli, G.S. Assie, Narbadashankar, Dharam Veer Singh, Gopal Bhatnagar, Pratap Desai, Anand, Srivastava, Chowdhary, Aditya Sharma, Raj Anand, Ashok Nimbalkar, Master Dharmendra, Master Sanjay, Master Santosh, Master Jitoo.

Story and Screenplay of this movie was written by Shashi Bhushan, whereas the dialogues were written by Madan Joshi. Nand Kumar was the editor for this movie and Sunder Shetty was the associate editor.

This movie had six songs written by Ravindra Jain (four songs) and Hasrat Jaipuri (two songs). Music was composed by Ravindra Jain.

Asha Bhonsle, Manna Dey, Hemlata, Jaspal Singh, Dilraj Kaur, Suresh Wadkar and Chandrani Mukherjee had given their voices to the songs in this movie.

This movie was passed by censor board on 28.11.1979.

I would request knowledgeable readers to throw more light on this movie and its songs …

The movie makes its debut on the blog today.

Let us now enjoy today’s song thanking Hemlata ji for the wonderful songs and the nostalgia forever …

(Sources – RSTV- ‘Guftagoo with Hemlata’ by Anchor Irfan Part-1 &2, Wikipedia and other articles available on Internet).


Song-Megh tu hi nahin jal barsaaye (Zakhmon Ke Nishaan)(1979) Singer-Hemlata, Lyrics-Ravindra Jain, MD-Ravindra Jain

Lyrics

megh tu hi nahin
jal barsaaye ae
mere bhi man par baadal chhaaye
garaj garaj tu boley ae
main gumsum rahoon
megh tu hi nahin
jal barsaaye ae
mere bhi man par baadal chhaaye
garaj garaj tu boley ae
main gumsum rahoon

tujhko milaa saagar se neer
mujhko mili saajan se peer
tujhko milaa saagar se neer
mujhko mili saajan se peer
tu duniyaa se kehtaa phirey
hans kar sah loon main har teer r r
tu duniyaa se ae kehtaa aa phirey
hans kar sah loon main har teer
bhed tu apne kholey
main gehri bahoon
megh tu hi nahin
jal barsaaye ae
mere bhi man par baadal chhaaye
garaj garaj tu boley ae
main gumsum rahoon

meraa ronaa kaam naa aaye
teraa ronaa saawan laaye ae
meraa ronaa kaam naa aaye
teraa ronaa saawan laaye
isiliye aansoo peeti hoon main
jag roton ki hansi udaaye
isiliye aansoo peeti hoon main
jag roton ki hansi udaaye
mere bhi man mein hai sholey
main kaase kahoon
megh tu hi nahin
jal barsaaye
mere bhi man par baadal chhaaye
garaj garaj tu oo boley ae
main gumsum rahoon
main gumsum rahoon
ho o o
main gumsum rahoon

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Devnagri Script lyrics (Provided by Avinash Scrapwala)
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मेघ तू ही नहीं
जल बरसाए ए
मेरे भी मन पर बादल छाए
गरज गरज तू बोले ए
मैं गुमसुम रहूँ
मेघ तू ही नहीं
जल बरसाए ए
मेरे भी मन पर बादल छाए
गरज गरज तू बोले ए
मैं गुमसुम रहूँ

तुझको मिला सागर से नीर
मुझको मिली साजन से पीर
तुझको मिला सागर से नीर
मुझको मिली साजन से पीर
तू दुनिया से कहता फिरे
हंसकर सह लूं मैं हर तीर ‘र ‘र
तू दुनिया से ए कहता आ फिरे
हंसकर सह लूं मैं हर तीर
भेद तू अपने खोले
मैं गहरी बहूँ
मेघ तू ही नहीं
जल बरसाए ए
मेरे भी मन पर बादल छाए
गरज गरज तू बोले ए
मैं गुमसुम रहूँ

मेरा रोना काम ना आये
तेरा रोना सावन लाये ए
मेरा रोना काम ना आये
तेरा रोना सावन लाये ए
इसलिए आँसू पीती हूँ मैं
जग रोतों की हंसी उड़ायें
मेरे भी मन में है शोले
मैं का से कहूं
मेघ तू ही नहीं
जल बरसाए
मेरे भी मन पर बादल छाए
गरज गरज तू ऊ बोले ए
मैं गुमसुम रहूँ
मैं गुमसुम रहूँ
हो ओ ओ
मैं गुमसुम रहूँ


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4364 Post No. : 15690 Movie Count :

4323

“Jaan e Bahaar”(1979) was produced by Prakash Agrawal and directed by Prakash Kapoor for Nav Chitra Bombay. This movie had Sachin,Sarika, Jagdeep,Paintal, Indrani Mukherjee, Pinchoo Kapoor, Madan Puri, Kanhaiya Lal, Lalita Pawar, Manju Bansal, Rajguru, Bhagwan Dada, Mushtaq merchant, Manhar Desai, Viju Khote, Renu, Ram Avtar, Bhagwan Sinha, Munshi Munnaka, Satyabhan Sinha, Pappu, Rasool, Sheikh, Ramesh Goel, Anu Dhavan, Sangeeta Bhosle, Deependra, Ashok.L.,Sattar Bhai, Manohar, Subhash Ohri, Baijnath, Masterjee, Ashat Kapoor, Vinod Sharma, B.C.Mahor, Sitaram, Aslam Khan, Satya Devi, Khushal, Raaj Anand, Rustum-e-Hind, Suresh Jain, Ashok Bhatia, with friendly appearances by Padma Khanna, Junior Mehmood, Asrani and Dheeraj Kumar.

Today (29 june 2020) is the 18th remembrance day of Gauhar Kanpuri.

I associate the name of Gauhar Kanpuri with the “Zakhmi”(1975) songs Abhi abhi thi dushmani and Jalta hai jiya mera. He also penned some other well known songs such as Jhoomta saawan dekho aaya (Do Khilaadi)(1976) , Allah karam karna Maula tu reham karna (Dada)(1978), Tumhe geeton mein dhaaloongaa (Saawan Ko Aane Do)(1979) etc. He continued to write lyrics for movies well into 1980 and even 1990s, but I remember him mostly for his songs of 1970s mentioned earlier.

As a tribute to Gauhar Kanpuri, here is the first (out of 5 songs) song from “Jaan e Bahaar”(1979). This song is sung by Rafi, Runa Laila and Anand Kumar Chitragupta. Gauhar Kanpuri is the lyricist. Music is composed by Bappi Lahiri. The song is picturised on Sachin, Sarika, Jagdeep and Kanhaiyalal. Sachin and Jagdeep share Rafi’s voice while Kaanhaiyalal lip syncs in Anand Kumar Chitragupta’s voice.

The picturisation is supposed to be a romantic cum comedy song, but I find the picturisation a big let down. Moviegoers of those days (inlcuding I myself) had wisely kept away from patronising this movie and the movie deservedly flopped at the box office.

Lyrics of this song were sent to me by Prakashchandra.

With this song, “Jaan e Bahaar”(1979) makes its debut in the blog.

Audio link:

Video link:

Song-Maar gayo re rasgulla ghumaaiy ke (Jaan e Bahaar)(1979) Singers-Rafi, Runa Laila, Anand Kumar Chitragupta, Lyrics-Gauhar Kanpuri, MD-Bappi Lahiri
Rafi + Runa Laila
Rafi + Anand Kumar Chitragupta
All

Lyrics(Provided by Prakashchandra)

hha hha hhhaa hhaa
hha hha hhhaa hhaa

maar gayo rey
hhaan maar gayo rey
rasgulla ghumaayike
maar gayo rey
hho maar gayo rey
hhaan maar gayo rey
rasgulla ghumaayike
maar gayo rey

hho maar gayo rey
hhaa maar gayo rey
rasgulla ghumaayike
maar gayo rey
hho maar gayo rey hey ehhey hey ehhey ehhey hey ae ae

suno dilrubaa
mujhe kya huaa
nashe mein khataa ho to
gusshaa na karnaa..aaa

suno to sanam
tumhein hai qasam
zamanaa buraa hai
tum aisshaa na karnaa
to phir main kya karoon dildaar
intezaar
hha maar gayo rey
hho maar gayo rey

rasgullaaa…aaaa…aaaa
rasgulla ghumaayike
maar gayo rey
hho maar gayo rey
hhaan maar gayo rey
rasgulla ghumaayike
maar gayo rey
hho maar gayo rey
hhey ehhey hhey ehhey hhey hey

na chaman mein aen
sukhoon miltaa hai
na veerane mein aen aen aen aen
chaain mil jaayega Baby tere
mil jaane mein aen

mere honewaale sasurjee
mehnat gayi bekaar
intezaar

hhey maar gayo rey
hhey maar gayo rey
rasgullaa ghumaayike
maar gayo rey
hhey maar gayo rey
hho maar gayo rey
rasgullaa ghumaayike
maar gayo rey
hho maar gayo rey
ehhey hhey ehhey ehhey hey

na gaane aaye hain
na bajaane aaye hain
yahaan apni bigdi banaane aaye hain
qawwali mein lorie sunaane aaye hain aen
muqaddar hai soyaa jagaane aaye hain
mere honewaale sasurjee
mehanat gayi bekaar
intezaar
ahha maar gayo rey
hho maar gayo rey
rasgullaa ghumaayike
maar gayo rey

hho maar gayo rey
hhaa maar gayo rey
rasgullaa ghumaayike
maar gayo rey
hho maar gayo rey ehhey hhey ehhey ehhey ehhey hey

rasgullaa
pehlaa doojaa
jo baapji ne maaraa to
seh gaye hain hum
rasgulla
prem bharaa
jo aap jee ne

jo aap jee ne
nahin nahin nahin nahin
jo aap jee maara to
reh gaye hain hum

to phir main kyaa karoon jaan-e-bahaar
pyaar
hho maar gayo rey
hho maar gayo rey
rasgullaa ghumaayike
maar gayo rey
hho maar gayo rey
hhaan maar gayo rey
rasgulla ghumaayike
maar gayo rey
hho maar gayo rey
hhaan maar gayo rey
rasgullaa ghumaayike
maar gayo rey

hho maar gayo rey ehhy hhey ehhey ehhey ehhey hey ae
hho maar gayo rey ehhey ehhey ehhey ae ehhey hey ae
hho maar gayo rey he ehhey ehhey ehhey ehhey hey ae
hhaa maar gayo rey ehhey ehhey ehhey ehhey hey ae


This article is written by Sadanand Kamath, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4354 Post No. : 15670 Movie Count :

4316

Hindi Songs in Bangla Film – 30
———————————-

In my last article, I had covered a fictional character, ‘Byomkesh Bakshi’,  created by the writer Sharadindhu Bandopadhyay on which TV serials and films have been made. While writing the article, I recalled that Satyajit Roy has written stories on his fictional character, ‘Feluda’ who is also a detective and investigator. He had directed two Bangla feature films based on ‘Feluda’ stories – ‘Sonar Kella’ (1974) and ‘Joy Baba Felunath’ (1979). It will be interesting to note as to how these two detective characters differ in their style of investigations which I will come to it later.

Satyajit Ray had once said that he made a living by writing children’s stories and from their publications rather than earning from his films.  His stories of ‘Feluda’ were first published in children’s magazine ‘Sandesh’ and later published as books. He had said that since his childhood, he was hooked to stories of Sherlock Holmes and inspired him to write the Indianised version of Sherlock Holmes- both culturally and temperamentally. Satyajit Roy wrote 35 stories of Feluda which were published between 1965 and 1995.

In all the Feluda stories, there are some characters who are part of almost all the stories. Detective and investigator, Feluda (real name: Prodosh Chandra Mitter) is the Indian equivalent of Sherlock Holmes. Feluda’s cousin, Topshe (real name: Tapas Ranjan Mitra) is equivalent of Dr Watson. Feluda’s friend Jatayu (real name: Lalmohan Ganguly) is a writer of crime thrillers who has often been depicted as a comical character.  In addition, there are characters like  Maganlal Meghraj, a villain who is an important part in some of the Feluda stories.

I have watched most of Byomkesh Bakshi’s stories on T V serials. So, I have fairly good idea as to how the main characters of Byomkesh and his assistant, Ajit have been depicted on screen.  But in regards to Feluda stories, my only exposure is Satyajit Roy’s two films mentioned above. Based on these sources and also reading summaries of few other stories, the some comparison between two detective stories of  Byomkesh Bakshi and Feluda  is attempted.

  1. Feluda stories are targeted towards children and teenagers though even the adults may also like. The investigations mostly centre around thefts of manuscripts, antique, artifacts items, kidnapping etc. Byomkesh stories are at a higher level of intelligence in solving cases and therefore meant for adults. The investigations are mainly related to murders arising out of property disputes, greed, revenge, adultery etc. Hence, there will be at least one or more female characters in the story. In Feluda stories, female characters hardly find place.
  2. Feluda is a tall, handsome and athletic person. He is a bachelor. He carries weapons with him and will not be averse to using strong arm methods. Byomkesh Bakshi is a bespectacled dhoti-clad detective and investigator who likes to be called as ‘Satyanweshi’ (Truth-seekar). He is a married man.  He rarely uses weapons or resorts to violent methods during his investigation.
  3. Most of Feluda stories are set outside Kolkata as he is a travel buff. Byomkesh gets most of the cases of investigation in around Kolkata.
  4. Feluda is accompanied in his work by his cousin, Thopse, a teenager who helps in recording the events during the investigations. The other accomplish is a writer of detective stories with his penname, Jatayu. He is more into bringing comical reliefs with his jokes gone wrong and with some silly questions. Byomkesh is acccompanied by his wife, Satyabati and Ajit who is also a writer.

Of the two Feluda films which Satyajit Ray directed, I gave preference for ‘Joy Baba Felunath (1979) which was available with English sub-titles. The gist of the story is as under:

Feluda (Saumitra Chatterjee) along with his cousin, Thopse (Siddharth Chatterjee) and the writer-friend, Jatayu (Santosh Dutta) are on a visit to Varanasi for a holiday. While on a stroll to ghats of Varanasi along with the hotel manager, they meet  Ambika Ghoshal who is introduced by the hotel manager to Feluda. Ghoshal revealed that the antique idol of Ganesh has been stolen and his father does not want to report the theft to police as he has no faith in police investigation. Feluda agrees to investigate the matter to solve the case.

During the course of his investigations, he visits Ghoshal family house and meets the father of Ambika Ghoshal  He finds him and Ambika Ghoshal’s minor son interested in reading detective stories. He also meets Bikash (Biplab Chatterjee), a member of Ghoshal family but no relation to them. He also comes to know that Maganlal Meghraj (Utpal Dutt) who had visited Ghoshal on the previous day to buy the antique Ganesh idol but Ghoshal had refused to sell. Maganlal is actually a trader in antique items and artefacts and the Machhlibaba, the fake sadhu is a front for him in his illicit business. So, Maganlal is the first suspects.

But there are others in the Ghoshal family who could also be suspects. Ambika Ghoshal was in debt as his business was down. He has, therefore, some motivation to sell the Ganesh idol to raise the money. Bikash had planned to go back to his native place as he did not like to stay with Ghoshal family for long doing house-hold chores. However, he did not have money to quit Ghoshal family. Lastly, Feluda meets the aged Shashibabu, an Durga idol maker who is making the idol of Durga in Ghoshal house for the ensuing Durga Pooja.

Feluda suspects the role of Bikash in Ganesh idol theft especially when he is suddenly planned to visit his native place. Feluda confronts Bikash by taking him at gun-point to a secluded place where he spills the beans. Feluda had already kept the police informed who takes him to the custody.

The fact of the case was that while painting the Durga idol, Shahsibabu finds a Ganesh idol falling from the mouth of the tiger’s idol. He takes the idol to Bikash fearing that he would be branded a thief. Bikash comforts him and assure him that he would handle the issue. But instead of handing over the Ganesh idol to Ghoshal family, he sells it to Maganlal for partly sum. Since Shashibabu knows that Ganesh idol has been found, Maganlal gets him killed.

Now it is the turn of Maganlal who has to be caught red-handed. For this, Feluda disguises himself as Machhlibaba and sits on the ghat along with his devotees. As expected, Maganlal comes with the Ganesh idol in the guise of a gift to Machhlibaba and hands over to him. The police team was already watching from the nearby place. He is caught red-handed with the Ganesh idol. He gets arrested. The case is solved. At the outset, there is not much suspense in the story as Maganlal was a suspect from the very beginning.

There is, however, a twist in the story, not about the suspects, but about the end of the story. When Maganlal had visited Ambika Ghoshal for buying the Ganesh idol, he has given him a friendly banter with a tone of a threat that he would have the idol even if Ghoshal does not sell him. This was heard by Ambika Ghoshal’s minor son. So, he reports the matter to his grandfather who asks him as to what he would do under such a circumstance since he is an avid reader of detective stories. The grandson says that he would keep the Ganesh idol in the mouth of the idol of Tiger which Shashibabu is painting. So, in reality, in the beginning, there was no theft of Ganesh idol but it has been safely kept in the mouth of a tiger idol.

There is a further twist in the story. When Feluda is handing over the recovered Ganesh idol, he reveals to the grandfather that the Ganesh idol is a fake one and it will not fetch even 1000 rupees. So where is the real antique Ganesh idol? The grandfather keeps mum.  Feluda gives the answer  that he knows from his source that the real antique Ganesh idol has been kept in the safe deposit locker of a bank by the grandfather.

Even though this film is a suspense thriller, as is the case with all other films of Satyajit Ray, the film is an audio-visual treat. He has a penchant for details around the scenes of the shooting and creating the period atmosphere. For example, when Feluda visits to meet the father of Ambika Ghoshal, in the background, an old record player is playing a  thumri of Kesarbai Kerkar. “Kaahe Ko Daari” (1936). On the second time, a ghazal, “Pee Ke Hum Tum Chale” (1909) sung by Zohrabai Agrewali is played in the background.

The ghats and narrow lanes of Varanasi have been beautifully captured. Of all the main actors, I liked the performance Utpal Dutt the most. He has been projected as a ruthless trader who can go to any extent without having to use strong-arm tactics. His stern warning through his expressions and short dialogue delivery are enough to create fear of him.

‘Joy Baba Felunath’ (1979) has only two songs, one each of bhajans of Meera Bai and Soordas. I am presenting a Meera bhajan “Mohe Laagi Lagan Guru Charanan Ki”. The song is sung by Reba Muhuri which is set to music by Satyajit Ray.

Reba Muhuri (1930 – 15/05/2011) was Hindustani classical vocalist who was born in Krishnanagar in Nadia district of West Bengal. Her father, Amiyanath Sanyal was a musicologist from whom she learnt music during her childhood. At the age of 16, Reba got married to an army officer. But her musical journey continued. She was mainly trained by Badi Motibai in Banaras. She also got guidance from Siddheshwari Devi, Rasoolan Bai and Begum Akhtar. She specialised in Khayal, Thumri and Bhajan. She had given concerts in India and abroad.

The song picturization situation is that while strolling on the Varanasi ghats, Feluda and his two associates find a gathering of devotees where one of the devotees is singing while there are visitors taking blessing of Sadhu Machhlibaba who is in fact a conduit for Maganlal for smuggling antiques and artefacts out of India.

The audio clip contains the full bhajan while the bhajan on the video clip is interrupted by dialogues. Hence the continuity of the song on the video clip is lost.

It is better to listen to the audio clip to get a spiritual feelings.

 

Audio

Video

Song – Mohey Laagi Lagan Guru Charnan Ki (Joy Baba Felunath) (1979) Singer – Reba Muhuri, Lyrics – Meerabai, MD – Satyajit Ray

Lyrics

aa aa aa aaaaaa
aa aa aa aaaa
mohe laa..gi lagan guru charanan ki
mohe laa..gi lagan guru charanan ki
guru charanan ki
guru charanan ki
mohe laa..gi lagan guru charanan ki
guru charanan ki
guru charanan ki
 
charan bina ab kachhu nahi bhaawe
charan bina ab kachhu nahi bhaawe
jag maaya sab sapanan ki
laa..gi lagan guru charanan ki
mohe laa..gi lagan guru charanan ki
guru charanan ki
guru charanan ki
guru charanan ki
 
bhav saagar sab sukh gayo hai……..ai…..ai
bhav saagar sab sukh gayo hain
fikar nahi mohe
fikar nahi mohe taranan ki
guru fikar nahi mohe taranan ki
guru fikar nahi mohe taranan ki
guru charanan ki
laa..gi lagan guru charanan ki
mohe laa..gi lagan guru charanan ki
 
meera ke prabhoooo…oo  
meera ke prabhu giridhar naagar
meera ke prabhu giridhar naagar
giridhar naagar
meera ke prabhu giridhar naagar
aas wahi guru charanan ki
aas wahi guru charanan ki
laa..gi lagan guru charanan ki
mohe laa..gi lagan guru charanan ki
mohe laa..gi lagan guru charanan ki
 
meera ke guroooooooo
giridha…r naagar
giridhar naagar
meera ke guru giridhar naagar
aas wahi guru charanan ki
aas wahi guru charanan ki
laa..gi lagan guru charanan ki
mohe laa..gi lagan guru charanan ki
guru charanan ki
charanan ki

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

आ आ आ आsssss
आ आ आ आss
मोहे ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
गुरु चरणन की
गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
गुरु चरणन की
गुरु चरणन की

चरण बिना अब कछु नहीं भावे
चरण बिना अब कछु नहीं भावे
जग माया सब सपनन की
ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
गुरु चरणन की
गुरु चरणन की
गुरु चरणन की

भव सागर सब सूख गयो है॰॰ए॰॰ए
भव सागर सब सूख गयो है
फिकर नहीं मोहे
फिकर नहीं मोहे तरणन की
गुरु फिकर नहीं मोहे तरणन की
गुरु फिकर नहीं मोहे तरणन की
गुरु चरणन की
ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की

मीरा के प्रभु॰॰उ॰॰उ
मीरा के प्रभु गिरधर नागर
मीरा के प्रभु गिरधर नागर
गिरधर नागर
मीरा के प्रभु गिरधर नागर
आस वही गुरु चरणन की
आस वही गुरु चरणन की
ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की

मीरा के गुरु॰॰
गिरधर॰॰र नागर
गिरधर नागर
मीरा के गुरु गिरधर नागर
आस वही गुरु चरणन की
आस वही गुरु चरणन की
ला॰॰गी लगन गुरु चरणन की
मोहे ला॰॰गी लगन गुरु चरणन की
गुरु चरणन की
चरणन की

 


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4336 Post No. : 15633 Movie Count :

4306

Today (1 june 2020) is pehli taareekh. And it turns out that today is World Milk Day. In India, National Milk Day falls on a different day, namely 26 November, which is the birthday of Verghese Kurien, who brought White revolution( Milk revolution) in India.

When I was growing up, India was a desperately poor country. It was deficient in foodgrains and also milk. Our history books wistfully recalled those days in distant past when India was a prosperous country where “दूध की नदियाँ बहा करती थीं” ( “doodh ki nadiyan baha karti thi). Indians wistfully sighed and felt envious of countries like Netherlands that they were the nation that had doodh ki nadi flowing in their country.

A few days ago, I was watching videos that showed progress of various countries over the years in graphical forms in various fields. In most areas, the graph started showing USA and USSR at top and ended showing China, USA and India at the top. It was heartwarming as a Indian to witness the progress of India in all these fields.

One field that really made me proud and came as a pleasant surprise to me was the fact that India had become the number one milk producing country in the world ! And it has been number one since 1998 !

The Milk revolution in India started in Kaira District of Gujrat. The Kaira District Co-operative Milk Producers’ Union was organized in 1946 with the blessings of late Sardar Vallabhai Patel. It started with two village milk producers’ societies and began pasteurizing milk for the Bombay Milk Scheme in June 1948. At that time, only 250 liters of milk per day was being handled. by 1960s, 378 village milk producers’ co-operative societies became affiliated to the main union. These societies in turn had about 65,000 farmers as their members. In these villages, there were about 1, 25,000 adult buffaloes of the Surti Breed. During the year 63-64 about 60,000 tonnes of milk was collected by the union. The cost of the milk and milk products sold in that year was over Rs.6 crores. The Union marketed milk in Gujarat and Maharashtra States and milk products on all-India basis. Its trade name “Amul” had become a household word all over India. The union had established an excellent reputation in the dairy industry and had evoked the admiration of experts from many parts of the world.

Verghese Kurien was the the General Manager of Kaira District Co-operative Milk Producers’ Union Ltd (Amul) at that time. Mr Lal Bahadur Shashtri, the second PM of India, who had taken over charge just a few months back, visited Anand on 31 october 1964. He was very impressed with amul model and he decided to replicate this model all over India. Accordingly, he wrote a letter to all the states. NDDB (National Dairy Development Board) was set up with its HQ at Anand. It began plans called Opweration Flood. It had three phases -phase I , II and III. OF I (from 1 july 1970 to 31 march 1981) sought to establish 18 “Anands” linked to the four urban markets – Mumbai, Delhi, Kolkata and Chennai. OF-II (2 october 1979 to 31 march 1985) aimed to establish a modern and self sustaining dairy industry, building on the foundation of OF-I to meet the nations’s needs in milk and milk products. Of III (1 april 1985 to 30 apr 1996) focused on consolidating the milk procurement, processing and marketing infrastructure created under OF-I & OF-II.

By the time OF III ended, India was already number one milk producing nation in the world, a position it holds to this date. Today India produces 22 % of all milk produced in the world. Indian per capita milk production (394 ml) is higher than the world average. The per capita availability of milk is the highest in Punjab (1181 ml),followed by Haryana (1087 ml), Rajasthan (870 ml), Gujarat (626), MP (538 ml), Andhra (623 ml), Himachal (565) etc. There are states that have surprisingly low milk availability viz Delhi (35 ml), Goa (71 ml), Assam (71 ml),Chandigarh (90 ml) etc. I am sure these milk deficient states get their milk supply from milk surplus states. India produces 22% of world production, followed by USA, China, Pakistan and Brazil.

When India became independent, per capita availability of milk was 130 ml, which reduced to an all time low of 110 ml by 1970 before it picked up. In other words, milk availability in Indian picked up only after operation flood project began.

I grew up in Bihar (now it is Jharkhand) in 1960s. Even today Jharkhand per capita milk availability is only 177 ml. Those days it was far lower. I can honestly say that my pets have had more milk in their earlier lives that I ever had ! 🙂 Today my sole pet Bhhole consumes bulk of the milk that I get every morning, and that is more than what an average human gets to drink in a day. 🙂 It has been made possible because to the pioneers and foot soldiers of operation flood. This, alongwith self sufficiency in the fields of other foodstuff has ensured that India does not have to rely on imports and it is secure as far as food security is concerned. That has made India a confident nation. None of Indian neighbours, including China, has this kind of food security.

I wondered if there was any Hindi movie songs on milk. One song from “Manthan” (1977) has already been covered, and there were no other songs. Then it struck me that milk products too qualify, and that we have so many maakhan (butter) songs in Hindi movies, mostly associated with Lord Krishna. One can say that Lord Krishna, serving as a cowherd in Gokul, was a brand ambassador for milk products in general and maakhan (butter ) in particular. 🙂

A few songs of this genre have already been covered in the blog. While searching for other songs, I came across this song from “Gopal Krishna”(1979) which fits the bill perfectly. This movie was produced by Tarachand Barjatya and directed by Vijay Sharma for Rajshree Productions. The movie had Sachin, Zarina Wahab, Reeta Bhaduri, Manhar Desai, Master Sandip, Jeevan etc in it.

The movie had six songs in it.

Here is the first song from “Gopal Krishna”(1979) to appear in the blog. This song is sung by Chandrani Mukherjee which is lip synced by an actor playing young Lord Krishna . I guess that he is master Sandip, with Reeta Bhaaduri playing Maa Yashoda. Lyrics and music is by Ravindra Jain.

The situation is quite familiar to most of us. Some lady complains that Kanhaiyya has stolen maakhan from har matki. An irate Maaa Yashoda is out to punish Kanhaiyya. Kanhaiyya sings this song where he denies the charge. My own home has abundant quantity of Makhan, why would I go elsewhere for it, he explains. As for the maakhan smeared on his lips, he accused Ahir ki chhori of deliberately framing him by smearing maakhan on his lips. He then plays the emotional card- I do your chaakri for the whole day by tending to the cows in the meadows, but instead of believing me, you believe the words of others. 🙂

Very cute and sweet song, picturised nicely. This song is a hidden gem that I became aware of only today.

On the occasion of World Milk day, here is this lovely song from “Gopal Krishna”(1979).


Song-Tu man ki ati bhori o maiyya mori(Gopal Krishna)(1979) Singer-Chandrani Mukherjee, Lyrics-Ravindra Jain, MD-Ravindra Jain

Lyrics

tu man ki ati bhori o maiyya mori
tu man ki ati bhori
tu man ki aati bhori o maiyya mori
tu man ki ati bhori
jaako ghar bharyo dadhhi maakhan syon
jaako ghar bharyo dadhhi maakhan syon
vo kyon karan lago chori o maiyya mori
tu man ki ati bhori
tu man ki ati bhori o maiyya mori
tu man ki ati bhori

na kaaho ko maakhan khaayo
na koi matki phodi
na kaaho ko ka maakhan khaayo
na koi matki phodi
more mukh maakhan male tore sanmukh
more mukh maakhan male tore sanmukh
laayi aheer ki chhori o maiyya mori
tu man ki ati bhori
tu man ki ati bhori o maiyya mori
tu man ki ati bhori
jaako ghar bharyo dadhhi maakhan syo
jaako ghar bharyo dadhhi maakhan syo
vo kyun karan lagyo chori o maiyya mori
tu man ki ati bhori

din din bhar main to dhenu chaaravat karat chaakri tori
din din bhar main to dhenu chaaravat karat chaakri tori
yaahu par tu unki sunat hai
yaahu par tu unki sunat hai
jhoothi kahaani jori o maiyya mori
tu man ki ati bhori
tu man ki ati bhori o maiyya mori
tu man ki ati bhori
ja ko ghar bharyo dadhhi maakhan syo
ja ko ghar bharyo dadhhi makhan syo
vo kyun karan lagyo chori o maiyya mori
tu man ki ati bhori


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day: 4335 Post No.: 15631

The connoisseurs of Hindi film music of the 1960s and 1970s would recall the four melodious songs sung by Geeta Dutt in ‘Uski Kahaani’ (1966) and ‘Anubhav’ (1971). Fans of Gulzar would know that all these four songs have come from his pen. But I will not be surprised if only few of them would remember that all these four songs had been set to music by Kanu Roy. Among these few persons, most of them would not have known his real identity. In his case, it was not only of the confusion of same name but also the confusion with a wrong family tree.

Most of the websites including Wikipedia says that Kanu Roy was an actor and music director who started his acting career in 1940s and switched over to music direction from 1960 onwards. His filmography in IMDb shows him both as an actor and the music director. In some websites, Kanu Roy as a music director has been discussed with the photograph of the actor, Kanu Roy. He is also been wrongly associated with the family of Geeta Dutt as one of her brothers. The facts are:

1. Kanu Roy, the actor and Kanu Roy, the music director were different persons. Kanu Roy, the actor came to Bombay (Mumbai) in early 1940s to join Bombay Talkies. On the basis of Gulzar’s interview which appeared in a ‘Filmfare’ issue of 2012, Kanu Roy, the music director came to Bombay sometime in mid-1950s. (My guess is that he may have come with Basu Bhattacharya who was his close friend).

2. Kanu Roy, the actor was never a music director. Kanu Roy, the music director never acted in films.

3. Kanu Roy, the music director was not a brother of Geeta Dutt. I have seen a photograph of Geeta Dutt’s full family before her marriage. In this photograph, there is no Kanu Roy. The names of Geeta Dutt’s four brothers are Mihir Roy, Ranjit Roy, Mukul Roy and Milan Roy.

With multiple confusion about his name, even the basic profile of the music director, Kanu Roy is difficult to get. I could get some information from Gulzar’s interview published in one of the Filmfare issues of 2012 which is available on http://www.tanqeed.com . In this interview, Gulzar talked about his association as a lyricist with Kanu Roy which I have summarized below with my marginal inputs.

Kanu Roy had picked up the musical notes from Bengal. He began his career by assisting music director, Salil Choudhury who also had Kanu Ghosh as his Assistant Music Director. It seems Kanu Roy was a Welder by profession and had worked on the upkeeping of the Howrah Bridge. He was an introvert by nature and had in him a mix of timid and humble nature.

Basu Bhattacharya and Kanu Roy were great friends. It was Basu Bhattacharya who gave Kanu Roy his first break as a music director in ‘Uski Kahaani’ (1966) which he produced and directed at shoestring budget. Subsequently, he worked in another five films of Basu Bhattacharya. Because of the low budget films, Basu Bhattacharya would never allow Kanu Roy to have more than 6-8 musicians (as against 50-100 musicians the music directors like Shankar-Jaikishan, Naushad, O P Nayyar etc would have in their orchestra). Also, Kanu Roy would not get the regular shifts in the recording studios for rehearsals of the songs. He had to manage in the early morning hours of the recording studio. He did not have a bargaining power with Basu Bhattacharya to ask for more musicians. (Probably for the same reason, he may not have got the playback singers of his choice). It is remarkable that with these constraints, Kanu Roy could composed melodious songs in Basu Bhattacharya’s films.

Kanu Roy’s career ended with his life on 20/12/1981. He lived in poverty and died in poverty.

During his musical journey from 1966-80, Kanu Roy composed 28 songs in 8 films, of which 6 films were of Basu Bhattacharya. Of the remaining two films, one film ‘Mayuri’ (1970s) remained unreleased. Though his contributions to Hindi film music in terms of numbers were low, many of his melodious songs still linger on. Unfortunately, his name may not ring bell for many who may still enjoy those melodious songs.

Although most of Kanu Roy’s melodious songs have been covered in the Blog, I found one song which I liked for its all-round excellence – lyrics, rendition, melody, composition and the picturization. The song is ‘pahchaan to thhi pahchaana nahi’ from ’Griha Pravesh’ (1979). The song is rendered by Chandrani Mukherjee on the words of Gulzar. Having watched the film, I feel that this song summarises the theme of the film.

Amar (Sanjeev Kumar) and Mansi (Sharmila Tagore) has been married for 10 years with 8-year old boy. During this period, some staleness in their relationship develops. Both are under the illusion that they are in love but in practice, they are just being together under one roof. Now their marriage is in the verge of collapse when Amar develops affairs with his office typist Sapna (Sarika). He is caught in a bind in that while he loves Sapna, in the back of his mind, he is also emotionally attached to his family.

Finally, Amar tells Mansi of his intention to divorce her to marry Sapna. After the initial shock, Mansi agrees for divorce on the condition that he should bring Sapna to the house to meet her. The reason is that Sapna has seen Amar in the office as an Accountant and develop the liking for him in an office environment. But she has not seen him in his house where the environment is different.

Before Sapna visit to her house, Mansi gets her house painted. She undergoes herself to a new make-over. While doing this, the song under discussion plays in the background. Sapna visits her house with Amar. After a brief meeting, Mansi takes Amar aside and tell him that she is ready to leave him for Sapna. After the meeting, Mansi tells Amar to drop Sapna to her house. However, when crossing the road, Sapna walks over to the other side of the road while Amar gets stranded on the opposite side because of a marriage procession on the road. In the midst of the orchestra in the marriage procession playing ‘tu Ganga ki mauj mein Jamuna ki dhara’, both Amar and Sapna take leave by waving hands at each other. The scene is symbolic of conveying the message that Amar has a change of heart. The film ends with Amar returning home having coffee with Mansi and his son with the replaying of the film’s song ‘zindagi phoolon ki nahi, phoolon ki tarah mehkti rahe’.

The lyrics of the song under discussion are simple and convey retrospection on the part of a housewife who forgets to give attention to herself. Instead, much of her time is spent in the kitchen, looking after husband and the child and upkeep of the house. In this milieu, she forgets her own identity.

In keeping with the low budget of the film, Kanu Roy has used only three main musical instruments in this song – Sarod, Sitar and what I believe to be Khol (Bangla Dholak) which one can hear in a low rhythm as the song is rendered. The song starts with a prelude of Sarod and Sitar and the same instruments are used in the interludes of the song. Chandrani Mukherjee, who is the sister-in-law of Bappi Lahiri, has rendered the song with poignant feeling in keeping with the mood of the situation. The Audio clip is longer with the same lyrics because it has the longer prelude music than in the video clip.

This song sums up the story of a housewife in a middle-class society.

Video Clip:

Audio Clip:

Song-Pehchaan to thhi pehchaana nahin(Grih Pravesh)(1979) Singer-Chandrani Mukherjee, Lyrics-Gulzar, MD-Kanu Roy

Lyrics

pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi

jab dhoop barasti hai sar pe to
paanv mein chhaanv khilti hai
main bhool gayi thhi chhaanv agar
milti hai to dhoop mein milti hai
is dhoop aur chhaanv ke khel mein kyun
jeene ka ishaara samjha nahin
pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi

main jaagi rahi kuchh sapnon mein
aur jaagi huyi bhi soyi rahi
jaane kin bhool bhulaiyya mein kuchh
bhatki rahi kuchh khoyi rahi
jeene ke liye main marti rahi
jeene ka ishaara samjha nahin
pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi


This article is written by Sadanand Kamath, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4322 Post No. : 15610 Movie Count :

4301

During the course of my exercise to pick up Hindi songs in Bangla films, I have gone through many Bangla films with their basic details such as the director, story writer, star cast, lyricist, music director, playback singers etc. In the list of lyricists in any Bangla film, if I find the name of the lyricist from Hindi films, I am almost certain that there would be at least one Hindi song in that Bangla film. In some cases, I found that though the name of the Hindi film lyricist was not mentioned, still one or two Hindi songs were found in such Bangla films.

During one of such exercise, I got to know of a Bangla film ‘Sorry Madam’ (1962). The film was directed by Dilip Bose. Although, I could not find the name of Hindi lyricist for the film, the names of playback singers like Manna Dey, Mukesh, and Asha Bhosle gave me a glimmer of hope that there could be at least one Hindi song in the film. The music director for the Bangla film was Ved Pal. But I scored a blank on this count. However, during the searching the songs on the internet, I came across not one but three Hindi songs under the film’s title ‘Sorry Madam’ (Unreleased). Some further searches on the internet revealed a story behind this unreleased film which I was not aware of it. The film was to be a remake of Bangla film ‘Sorry Madam’ (1962) which was a box office success. Hindi remake with the same title was to be produced and directed by Dilip Bose who had also directed its Bangla version. But the film remained unfinished because the director, Dilip Bose went into deep depression after a personal tragedy.

Dilip Bose started his filmy career as actor in Bangla films ‘Kashinath’ (1943) and ‘Bichar’ (1943). I could not get any lead as to what he did during 1943-1960. In 1960, he directed his first Bangla film ‘Dui Bechaara’ (1960). The next Bangla film which he directed was ‘Sorry Madam’ (1962) with Biswajeet and Sandhya Roy in lead roles. ‘Chaandi Ki Deewar’ (1964) was his first directorial venture in Hindi film. During his filmy career, he directed 5 Bangla films, 6 Hindi films and 10 Bhojpuri films. He also acted in about a dozen Bangla films which included Satyajit Ray’s ‘Charulata’ (1964). He also did some smaller roles in a few Bhojpuri films besides story and screen-play writing.

In 1979, after directing Hindi films like ‘Chaandi Ki Deewar’ (1964), ‘Sansaar’ (1971), ‘Thokar’ (1974), ‘Badnaam’ (1975) and ‘Sikka’ (1976), he decided to produce and direct the Hindi remake of his Bangla film ‘Sorry Madam’ (1962) with Raj Kiran and Kajal Kiran in the lead roles. Six songs, all rendered by Mohammed Rafi (some with Asha Bhosle) were recorded in December 1979 under the music direction of Chitragupt. However, Dilip Bose was struck with a personal tragedy when he suddenly lost his wife. Being a sentimental person, Dilip Bose was so much devastated by this tragedy that he went into deep depression for a long time and the film remained unfinished. After recovering from the depression, Dilip Bose concentrated mainly on directing Bhojpuri films. Dilip Bose died in 2002.

Even though 6 songs of the unfinished film ‘Sorry Madam’ (1979) were recorded in December 1979, no gramophone records or CDs were issued. So, they remained unavailable to the public. It was only after the death of the music director, Chitragupt in January 1991 that the tape containing the songs were discovered.  It was decided to release the song in an album. However, by that time, Hindi film music scene had changed and composition style of these six songs sounded old to the music companies who were not interested in releasing the songs. It was only after the success of ‘Veer Zara’ (2004) in which the old-style song composition of Madan Mohan became a hit that a fresh effort was made to release the songs. A music publishing company agreed to release the songs. The tape of the songs were sent to Belgium to digitally restore them to the highest sound quality. Thus,  the songs which were recorded in December 1979 had to wait for 30 years to get them released in an album ‘Teri Adaa’ in 2009.

I am presenting one of the six songs, “Dekho Ji Waado Karo Ke Door Kabhi Tum Na Rahoge” from the unfinished film ‘Sorry Madam’ (1979). The song is written by Kaafil Aazar which is set to music by Chitragupt.

[Acknowledgements:  Some of the information about the background history of the film with 6 unreleased songs are sourced from silkrd.files.wordpress.com and about Dilip Bose, from the book, ‘Cinema Bhojpuri’ by Avijit Ghosh.]

 

Song – Dekho Ji Ye Waada Karo (Sorry Madam) (UR) (1979) Singer – Asha Bhosle, Mohammed Rafi, Lyrics – Kaafil Aazar, MD – Chitragupt
Asha Bhosle + Mohammed Rafi

Lyrics

dekho ji ye waada karo..o..o
dekho ji ye waada karo. . .
ke door kabhi tum na rahoge
jaao ji ye waada kiyaa..aa
jaao ji ye waada kiyaa
ke doo..oor kabhi hum na rahenge
 
waada tumhaara mujhko payaara hai jaan se
chaaha hai tumko hum ne kitne armaan se
waada tumhaara mujhko payaara hai jaan se
chaaha hai tumko hum ne kitne armaan se
phoolon mein jaise khushboo
itne kareeb hain
phoolon mein jaise khushboo
itne kareeb hain
phoolon se khushboo se bhi
hum to khushnaseeb hain

ho oo
khushnaseeb hain
khaao meri aankhon ki kasam
khaao meri aankhon ki kasam
ke door kabhi tum na rahoge
jaao ji ye waada kiyaa..aa
jaao ji ye waada kiyaa
ke doo..oor kabhi hum na rahenge
 
itna sataaya thaa kyun dil mera loot ke
ab na rahungi main to tumse kabhi rooth ke
itna sataaya thha kyun dil mera loot ke
ab na rahungi main to tumse kabhi rooth ke
raaten sajegi apni palkon ki chhaaon mein
raaten sajegi apni palkon ki chhaaon mein
utarega chanda mere sapnon ke gaaon mein
ho oo
sapnon ke gaaon mein
dekhega ye chaand sadaa..aa
dekhega ye chaand sadaa
ke door kabhi hum na rahenge

dekho ji ye waada karo..o..o
dekho ji ye waada karo…..
ke door kabhi tum na rahoge
jaao ji ye waada kiyaa..aa
jaao ji ye waada kiyaa
ke do..oor kabhi hum na rahenge
ke do..oor kabhi hum na rahenge
ke do..oor kabhi hum na rahenge
ke do..oor kabhi hum na rahenge

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

देखो जी ये वादा करो॰॰ओ॰॰ओ
देखो जी ये वादा करो॰ ॰ ॰
के दूर कभी तुम ना रहोगे
जाओ जी ये वादा किया॰॰आ
जाओ जी ये वादा किया
के दू॰॰र कभी हम ना रहेंगे

वादा तुम्हारा मुझको प्यारा है जान से
चाहा है तुमको हमने कितने अरमान से
वादा तुम्हारा मुझको प्यारा है जान से
चाहा है तुमको हमने कितने अरमान से
फूलों में जैसे खुशबू
इतने करीब हैं
फूलों में जैसे खुशबू
इतने करीब हैं
फूलों से खुशबू से भी’
हम तो खुशनसीब हैं
हो ओ
खुशनसीब हैं
खाओ मेरी आँखों की कसम
खाओ मेरी आँखों की कसम
के दूर कभी तुम ना रहोगे
जाओ जी ये वादा किया॰॰आ
जाओ जी ये वादा किया
के दू॰॰र कभी हम ना रहेंगे

इतना सताया था क्यों दिल मेरा लूट के
अब ना रहूँगी मैं तो तुमसे कभी रूठ के
इतना सताया था क्यों दिल मेरा लूट के
अब ना रहूँगी मैं तो तुमसे कभी रूठ के
रातें सजेंगी अपनी पलकों की छाँव में
रातें सजेंगी अपनी पलकों की छाँव में
उतरेगा चंदा मेरे सपनों के गाँव में
हो ओ
सपनों के गाँव में
देखेगा ये चंदा सदा॰॰आ
देखेगा ये चंदा सदा
के दूर कभी हम ना रहेंगे

देखो जी ये वादा करो॰॰ओ॰॰ओ
देखो जी ये वादा करो॰ ॰ ॰
के दूर कभी तुम ना रहोगे
जाओ जी ये वादा किया॰॰आ
जाओ जी ये वादा किया
के दू॰॰र कभी हम ना रहेंगे
के दू॰॰र कभी हम ना रहेंगे
के दू॰॰र कभी हम ना रहेंगे
के दू॰॰र कभी हम ना रहेंगे


This article is written by Avinash Scrapwala, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4240 Post No. : 15456

———————————————–——————————-
Blog 10-Year Challenge (2010-2020) – Song No. 9
——————————————————————————

We have two movies that qualify to be covered Under the ‘Blog Ten Year challenge 2010-2020’ today (26 february 2020). One is the ‘1958’ movie ‘Chaubees Ghante’ and the other movie is from the ‘Seventies’ i.e. ‘Ahsaas-1979’.

‘Ahsaas’ was released in ‘1979’ that is when I was above eleven years old. Since the movie was released with ‘restricted viewing’ means we had no chance of watching and discussing this movie among out not yet adult friend circle.

One song from this movie was frequently played on radio and had also make its mark in the ‘Binaca Geetmala’ (it ranked eighteenth in the annual list of Binaca Geetmala of 1980). Unlike the movie, its songs were not deemed restricted for adult listening. So listened to this song a lot. This song was the main reason why I and others adolescents like me remembered the name of this movie. That song was ‘sapnon ke shahar ham banaayenge ghar’. I think that this this was the only popular song from this movie at that time.

‘Ahsaas-1979’ was directed by S.K. Suri for ‘Sippy Films Pvt Ltd, Bombay’. S.K. Suri or Surendra Suri also wrote the story and screenplay of this movie. It was produced by G.P. Sippy.

(Atul ji has mentioned in his post here that this movie from the Sippy’s came in between ‘Sholay-1975’ and ‘Shaan-1980’. But with newcomers and also with a new music team).

The cast of ‘Ahsaas’ include the new comers Dina, Parvez, Rakesh Bedi, Kiran Vairale, Sahil and Rita Rani Kaul.

This movie had special appearances of Shammi Kapoor, Shashi Kapoor, Amitabh Bachchan, Simmi, Bindiya Goswami, Bindu, Simple Kapadia and Amjad Khan.

The other supporting cast include Chand Usmani, Leela Mishra, Sunder, Mohan Sheri, Asha Potdar, Arun Desai, Deepak, Raj, Sanjay Kaushik, Ashok Junior, K.S. Deshpande and Dina Nath.

M.S. Shinde was the editor of this movie (He was also the editor of ‘Sholay-1975’).

Dialogues of this movie were written by Suraj Sanim.

This movie had six songs written by Indeevar (five songs) and Ravindra Peepat (one song). Music for this movie was composed by Bappi Lahiri.

Lata Mangeshkar, Kishore Kumar, Asha Bhonsle and Shailendra Singh gave their voices to the songs of this movie.

This movie was passed by Censor Board on 23.10.1979.

So far four songs from this movie have been posted on the blog.

During the preparation of this post I also listened to other songs from this movie. I had not paid attention to them earlier though I might have heard them earlier. I discovered that the other songs are also good, particularly today’s song which appears familiar. Among other songs the first song of the movie which starts with the title is also a nice one and seems to be inspired from ‘ye dosti ham nahin todenge’ (the music is nice but may be the song didn’t get much attention since the movie didn’t go well with the audiences).

Coming back to the songs posted on the blog ten years back, three songs were discussed on that day :-

Song Movie title-Year Remarks
Kitne raanjhe tujhe dekhkar bairaagi ban gaye Ahsaas-1979 04 of 06 songs posted
Aur kuchh der thahar aur kuchh der na jaa Aakhri Khat-1966 All Songs posted
Hame haal e dil tumse kahna hai Chaubees Ghante-1958 05 of 08 songs posted

Let us now listen to today’s song sung by Kishore Kumar and Shailendra Singh. Lyrics are by Indeevar and music is composed by Bappi Lahiri.

(Lyrics are noted as per the audio version which is a longer version with three stanzas)

Video

Audio (longer)

Song-Jo na chhote hain na bade (Ahsaas)(1979) Singers-Kishore Kumar, Shailendra Singh, Lyrics-Indeewar, MD-Bappi Lahiri
Both

Lyrics ( As per the audio version)

jo naa chhote hai naa bade
badi mushkil mein wo pade ae

jo naa chhote hai naa bade
badi mushkil mein wo pade
jo naa chhote hai naa bade
badi mushkil mein wo pade ae

unki mushkilon ka
ahsaas nahin ee
unke liye waqt kisi ke paas nahin
ho jo naa chhote hai naa bade
badi mushkil mein wo pade

unki mushkilon ka
ahsaas nahin ee
unke liye waqt kisi ke paas nahin
ho jo naa chhote hai naa bade
badi mushkil mein wo pade ae

unke liye naa to baahar ki duniya
unke liye naa to ghar ki duniya
unke liye naa to baahar ki duniya
naa is kinaare
naa us kinaare
ho naa is kinaare ae
naa us kinaare
beech dhaare par hai wo khade
jo naa chhote hai naa bade
badi mushkil mein wo pade ae

unki mushkilon ka
ahsaas nahin ee
unke liye waqt kisi ke paas nahin
ho jo naa chhote hai naa bade
badi mushkil mein wo pade ae

hamko sabhi har baat pe tokey
jo khud karey wo hi karne se roke ae
hamko sabhi har baat pe tokey
karey ham kisise pyaar
chheena ye bhi adhikaar
karey ham kisise pyaar
chheena ye bhi adhikaar
mele mein ham to akele khade
jo naa chhote hai naa bade
badi mushkil mein wo pade ae

unki mushkilon ka
ahsaas nahin ee
unke liye waqt kisi ke paas nahin
ho jo naa chhote hai naa bade
badi mushkil mein wo pade

toofaan umangon ka itnaa jyaada
duniya badalne ka apnaa iraada
toofaan umangon ka itnaa jyaada
hamaara jawaan pyaar
tod dega har deewaar
hamaara jawaan pyaar
tod dega har deewaar
bandhan mein kab tak rahenge jakde
jo naa chhote hai naa bade
badi mushkil mein wo pade ae

unki mushkilon ka
ahsaas nahin ee
unke liye waqt kisi ke paas nahin
ho jo naa chhote hai naa bade
badi mushkil mein wo pade ae

——————————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
——————————————————–

जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े

जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े
जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े

उनकी मुश्किलों का
अहसास नहीं ई
उनके लिए वक़्त किसी के पास नहीं
हो जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े

उनकी मुश्किलों का
अहसास नहीं ई
उनके लिए वक़्त किसी के पास नहीं
हो जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े ए

उनके लिए ना तो बाहर की दुनिया
उनके लिए ना तो घर की दुनिया
उनके लिए ना तो बाहर की दुनिया
ना इस किनारे
ना उस किनारे
हो ना इस किनारे ए
ना उस किनारे
बीच धारे पर है वो खड़े
जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े

उनकी मुश्किलों का
अहसास नहीं ई
उनके लिए वक़्त किसी के पास नहीं
हो जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े ए

हमको सभी हर बात पे टोके
जो खुद करे वो ही करने से रोके ए
हमको सभी हर बात पे टोके
करे हम किसीसे प्यार
छीना ये भी अधिकार
करे हम किसीसे प्यार
छीना ये भी अधिकार
मेले में हम तो अकेले खड़े
जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े

उनकी मुश्किलों का
अहसास नहीं ई
उनके लिए वक़्त किसी के पास नहीं
हो जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े

तूफ़ान उमंगों का इतना ज्यादा
दुनिया बदलने का अपना इरादा
तूफ़ान उमंगों का इतना ज्यादा
हमारा जवान प्यार
तोड़ देगा हर दीवार

हमारा जवान प्यार
तोड़ देगा हर दीवार
बंधन में कब तक रहेंगे जकड़े
जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े ए

उनकी मुश्किलों का
अहसास नहीं ई
उनके लिए वक़्त किसी के पास नहीं
हो जो ना छोटे है ना बड़े
बड़ी मुश्किल में वो पड़े ए


This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4143 Post No. : 15309 Movie Count :

4216

Hullo Atuldom

Na Chaahoon Sona Chaandi” was the first time I took note of this roly-poly cute- faced actor. He played Braganza, a head-fisherman and father to ‘Bobby’ in 1973. Subsequently I saw him as mama to the character played by Hema Malini in ‘Aap Beeti’ in 1976, a pathan who helps Manoj Kumar in ‘Shor’ (1972), a sardar who was a good Samaritan in ‘Roti Kapda aur Makaan’ (1974).

Then one day on chitrahaar or it could have been chaayageet on Doordarshan I saw a black and white song “Patli Kamar Hai” where this particular actor was super good-looking which was enough to sweep the lady he was wooing, off her feet. He came across as a dancer with a reasonable sense of rhythm. That is when I was informed by my dad that Premnath was a lead actor in many movies and rattled of names like ‘Aab-e-Hayaat’ (1955), ‘Baadal’ (1951), ‘Aag’ (1948) etc. and also sang a few of his songs from movies where he was the hero. Recently, not so long ago, I too saw a black-n-white movie, where Premnath played a ‘supposed’ poor boy who falls in love with a princess and helps the king regain his kingdom, the movie was an Arabian nights kind of story. Think it was ‘Saaqi’ (1952).

So I have loved movies where Premnath was Sir Juda (‘Karz’), Yamraaj (‘Lok Parlok’), IG Khanna (‘Kalicharan’), Bajrang Bahadur (‘Aap Beeti’), Shankar Dada (‘Dharam Karam’), father of a bevy of beauties (‘Ishk Ishk Ishk’, and the most memorable of them all – Rai Saab Bhupendra Singh in ‘Johnny Mera Naam’.  Thinking of him today on his birth anniversary he would have been 93.

There is another celeb of yesteryears who has her birthday today. And I wrote a post for her last month itself where I wrote this “I remembered that November 21st was the birthday of our dear Helen. She turned 81 yesterday (21 October 2019).’’ God only knows what I was thinking as I wrote that post and sent it hurriedly to Atul ji for posting. And the good man that he is, he posted it within an hour of my sending it. But the error was pointed out in the comments section by Partha Chanda ji and Prakashchandra ji. The next day Nahm ji, after reading the comments, messaged me to inquire if I was planning one more post for the actual birthdate and also to see if the song choices were clashing. I assured her that the choices don’t clash as we have a vast library to choose from.  I must say that we had an extra song and extra good wishes for our much-loved Helen.

As my practice has been over the years, I have managed to find a song which features both the birthday celebs. It is from the 1979 release ‘Magroor’’ which starred Shatrughan Sinha, Vidya Sinha, Premnath, Helen, Deven Verma, Nadira, Narendranath, Paintal, Dr. Shreeram Lagoo, Jagdish Raj etc. The film had music by Laxmikant Pyarelal and Anand Bakshi wrote the lyrics. Playback singers were Asha Bhonsle, Suman Kalyanpur, Anuradha Paudwal, Mohd. Rafi, Kishore Kumar, Manna Dey and Mahendra Kapoor. All the 5 songs were duets.

Todays’ song is a club song where we see Helen (Rukhsaana) being wooed by a bunch of suitors (extras) and Premnath joining in on the fun. He is bodily lifted out of the dance floor by the cops at the end of the song. Playback for this song is by Asha and Mannada.

 

Song – Rukhsaana Rukhsaana Main Tera Deewaana  (Magroor) (1979) Singer -Asha Bhosle, Manna Dey, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Chorus

Lyrics 

aaaa aaaa aaahaa
aaahaa haaa aaahaa haaa
rukhsaana rukhsaana
main tera deewaana
tu kis ki deewaani
bol o meri jaan
he he
rukhsaana rukhasaana
main tera deewaana
tu kis ki deewaani
bol o meri jaan

rukhsaana dil degi kisi daulat waale ko
rukhsaana dil degi kisi daulat waale ko
pyaar karegi apne jaise kisi matwaale ko

rukhsaana rukhsaana
main tera deewaana
tu kis ki deewaani
bol o meri jaan
he he
rukhsaana rukhsaana
main tera deewaana
tu kis ki deewaani
bol o meri jaan

jis ko mujh se pyaar ho
o ho ho ho
jis ko mujh se pyaar ho
aaye imtihaan de
jis ko ye dil lena ho
pehle apni jaan de
ha ha ha
ha ha
ha ha ha
ha ha
ha ha ha
ha ha ho ho ooo
jal ke jo dikhaaye
dikhaaye
wo mera parwaana
hai
rukhsaana rukhsaana
main tera deewaana
tu kis ki deewaaani
bol o meri jaan
he he
rukhsaana rukhsaana
main tera deewaana
tu kis ki deewaani
bol o meri jaan

rukhsaana jaane jaana..aa
rukhsaana jaane jaana..aa
ishq mein tere
chhoda maine
saara zamaana
rukhsaana jaane jaana..aa
rukhsaana o meri jaane jaana
meri bulbul-e-baghdad
kahaan hai tu

chik bam bam
chik bam bam
bam chik bam bam
chik bam bam
chik bam bam
bam chik bam bam

tere deewaanon mein kaun hai mere jaisa
mere jaisa
arre haat
tere deewaanon mein kaun hai mere jaisa
mere jaisa
pyaar nahin milta
mil jaata hai paisa
mil jaata hai paisa
mera dil naa todo o
mera daaman chhodo
main aashiq tera
naam na lena mera
main de sakta hoon jaan bhi
marna hai aasaan bhi
phir mushkil kya kaam hai
paisa us ka naam hai
khaali dil kis kaam ka
sheeshe ka paimaana
he rukhsaana rukhsaana
main tera deewaana
tu kisi ki raani
poochho meri jaan
rukhsana dil degi kisi daulat waale ko
rukhsana dil degi kisi daulat waale ko
pyaar karegi apne jaise kisi matwaale ko

he rukhsana rukhsaana
main tera deewaana
tu kis ki deewaaani
bol o meri jaan
he he
rukhsaana rukhsaana (rukhsaana)
main tera deewaana (rukhsaana)
tu kis ki deewaaani (o meri bulbul)
bol o meri jaan (kahaan hai tu)
rukhsaana rukhsaana
main tera deewaana (rukhsaana)
tu kis ki deewaaani (rukhsaana)
bol o meri jaan
rukhsaana rukhsaana
main tera deewaana (rukhsaana)
tu kis ki deewaaani
bol o meri jaan


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4127 Post No. : 15284 Movie Count :

4207

Today 5th November is the eighth remembrance anniversary of Bhupen Hazarika (8 September 1926 – 5 November 2011). I am not adding any adjectives before his name because they will not do justice to describe the ‘personality’ he was, the monumental work he has done, the legacy he has left behind, and finally the ‘human for humanity’ he was.

I have always wanted to write an article on him since I came in to the contact with the blog. And that was only about how I get introduced to the ‘World of Bhupen Hazarika’ through his album ‘Main Aur Mera Saaya’ (2/1993) and his songs like from the movies that I know ‘Rudaali’ (1993) and others, and the famous non-film song “O Ganga Behti Ho Kyon. . .”.

I still remember the day 14th May 1993 (I was staying at Kota-Rajasthan then) when I bought ‘Main Aur Mera Saaya’ on HMV Cassette and me and one of my colleagues from Bengal listened to it. First time I just listened and was curious to know from my friend about the information on Bhupen Hazarika that he was aware of. Thereafter that evening I keep listening to the cassette changing sides till I went to sleep. That was the magic of the voice of Bhupen Hazarika and also the lyrics of the songs describing the various ‘common individuals in the society – the poor, the downtrodden, the suppressed ones’ and specially depicting the culture of Assam.

Around the same time, I think (June-July of 1993) the songs of ‘Rudaali’ were released and had became popular so the cassette of ‘Rudaali’ too became a part of my collection. Before that the Dadasaheb Phalke award for 1992 was announced; it was conferred on Shri. Bhupen Hazarika for his outstanding contribution to Indian cinema and music. After that I think his album with the song “O Ganga Behti Ho Kyon. . .”, couple of songs from ‘Darmiyaan’ (1997) and other non-film songs was released which I bought during my stay at Bareilly.

I was also always remembering the title song from the TV serial ‘Lohit Kinaare’, I think it had the voice of Bhupen Da (if I am not wrong) , but in spite of my continuous search for it I have not been able to find it till date. In between over the years I was only aware of his Assamese and Bengali version of his song “Aawaara Hoon. . .”, which is “Moi Eti Jajabor” in Assamese and “Ami Ek Jajabor” in Bengali. And of course of the Assamese and Bengali versions of the song “O Ganga Behti Ho Kyon. . .” i.e. “Bistirno Parore Ahankh Janore” and “Bistirno Duparer Ashankha Manusher’ respectively.

All these years all of his collection that I was having was always motivating me whenever I listened to the songs and I always cherished this valuable collection with me. After that almost a year back during my regular browsing I got to read about his personal life, his journey from his early years that made Dangor Moina, a child from Sadia, into a towering personality – Bhupen Hazarika. And I realized that one has to read more and more, or if possible, one has to literally live the life of Bhupen Hazarika to understand Bhupen Hazarika in its true ‘human’ spirit. And that surely requires a very detailed post separately.

On his birth anniversary this year (8th September, 2019) when Atul ji presented a post with his song “Ek Kali Do Pattiyaan” and mentioned about the original Assamese version of that song, I immediately checked for it and listen. And I was very excited and happy to enjoy it in Assamese language.

Just a couple of weeks later, there was a discussion on the song on ‘Brahmaputra’ in the ‘Atulites-whatsapp’ group where Atul ji mentioned about the folk singer Kalpana Patowary, so just one day I searched for her songs and came across a link of her performance in the TV musical program ‘Junoon’ where after her performance one of the judges Ila Arun asks her to sing the song of Bhupen Hazarika i.e. “Manuhe Manuhar Babe. . .”. So I looked for this song. When I listened to it first time I was lost in that song and from that day there is not a single day when I have not listened to this and other songs of Bhupen Hazarika in Assamese and Bengali whether I understand it or not.

But, as Bhupen Da himself mentioned in one of his interviews , what MF Hussain had said about him that “. . . when he sings – he paints.”. Here, I would like to add that not only we get to see the picture in front of us, but when he sings, we get involved in those feelings and emotions of those characters that Bhupen Da is singing about, and we unknowingly step into the soul of those characters.

Well, Atul ji’s post and the discussion on the group prompted me to look for the original Assamese and Bengali versions for his songs from the album ‘Main Aur Mera Saaya’. I keep finding them and also found some of them which are given in the table below for those who are interested to listen them. Rather I would request all to please listen to them to understand the ‘nuances’ (as Gulzar saab has said in his commentary in the album ‘Main Aur Mera Saaya’) of the characters.

Song Title (Hindi) Assamese song Bangla Song
Dola Ho Dola Dola He Dola Dola He Dola
Yeh Kiski Sadaa Hai Pratidhwani Suno Pratidhwani Shuni
Us Din Ki Baat Hai Porokhi Puwaate Tulunga
Kitne Hi Saagar Saagar Sangamat Saagar Sangame
Haan Aawaaraa Hoon Moi Eti Jajabor Aami Ek Jajabor
Main Aur Mera Saaya Moi aru mor saa
Ek Kali Do Pattiyaan Ekti kuri duti paata
Aalsi Saawan Badri Udaaye Ek khana megh bheshe elo aakashe

I would request our knowledgeable readers to correct me wherever I had made a mistake and also please provide either the Bangla or Assamese version for the Hindi songs that I have been unable to find in the above list. Also, I would apologize if I have made any mistake in the text while mentioning the songs title in either Assamese or Bengali elsewhere in this post.

Now, coming back to “Manuhe Manuhar Babe”, I found one video link wherein Bhupen Da himself is performing on this song and the details mentioned that this song was composed by him in 1964. And there, just this thought crossed my mind to check if there is a Hindi version of this song since it was the oldest song of Bhupen Da so I thought this should have been naturally translated in Hindi long back and this song both in Assamese and Bengali “Manush Manusher Jonno” (that Atul ji mentioned in his post ), are very popular one. But I could not gather the exact translated words for this song in Hindi if at all the song was made. But finally, I got it when I was listening to the various links available for the song “Insaanon Ne Paise Ke Liye” for Sahir Saab’s Remembrance Day.

So, when I was browsing for the song “Insaanon Ne Paise Ke Liye”, I noticed a link in the suggestions having Bhupen Da’s song “Insaan Insaan Ke Liye” and as I listened to it I had got the song I was looking for. And not just that it was already in the movie which was a Hindi version of ‘Chameli Memsaab’, I also got to listen another one “O Bideshi Bandhu”. What a song that is too. . . as we keep listening they keep growing more and more. . . and more. . .

And nowadays, there is not a single day when I do not listen to Bhupen Da’s song in Assamese or Bengali (even though I do not understand the words fully. But I must say they are very sweet, melodious and healing too). For example, I have listened innumerable times to “Akhom Dekhor Bagisare Sowali” in the voice of Usha Mangeshkar. And then its Bangla version “Asom Desher Meye Aami”. However, it seems that this song was not translated and included in the Hindi version of this movie.

Then there are few songs like “Shahid Pronaamo Tomak” which I like very much. And one song that Bhupen Da has mentioned in the interview (that I referred to above)  “Agnijugor. . .  Nuton Akhom Gadhi, Nutan Bharat Gadhi” which I need to listen, but so far have not found the link for it.

Now I also wish to learn Assamese and Bangla. And as many peoples say very rightly that we should always try and learn the Indian languages other than our mother tongue too. And that is the magic of our rich cultural heritage and of our ‘Unity in Diversity’. Even Bhupen Da an ambassador of ‘humanity’ also plays his role in the process of ‘national integration’ when he talks about that in the above interview.

And that bring us to the song of today, which has been taken from the Hindi moive ‘Chameli Memsaab’ (1979). Bhupen Da won the national award for the ‘Best Music Director’ for the Assamese movie ‘Chameli Memsaab’ at the 23rd National Awards – 1975.

‘Chameli Memsaab’ (Hindi) was directed by Ajit Lahiri for Elem Films, Calcutta. It has Abha Dhuliya, Tom Alter, Freddy Stroud, John McKenzie, Mrs. Freddy Stroud, Carol Alter, Pallavi Mehta, Master Raju, Sushant Sanyal, Mithoon Chakravarty and others. HFGK does not mention about the date of passing of this movie by the Censor Board.

This movie has four songs including one multiple version song. Lyrics for the songs are written by Gajanan Sharma (three songs) and Deep Narayan Mitholiya (one song). Music is composed by Bhupen Hazarika. Bhupen Hazarika, Kamal Ganguly, Arundhati Holme Choudhary and Ila Basu gave their voices to the songs in this movie.

Today’s song is sung by Bhupen Hazarika and Kamal Ganguly and the lyrics are by Deep Narayan Mitholiya (I think singer Kamal Ganguly and lyricist Deep Narayan Mitholiya will be making a debut on this blog).

Let us now enjoy today’s song and welcome ‘Chameli Memsaab’ (1979) on the blog. Let us also remember the great human being Shri Bhupen Hazarika. And remember that we still have a long way to go to explore the writer, composer and singer Bhupen Hazarika.

Thanking Bhupen Da for the vast musical treasure trove of the ‘soul and fragrance of India’

 

Song – Insaan Insaan Ke Liye, Jeevan Jeevan Ke Liye  (Chameli Memsaab) (1979) Singer – Bhupen Hazarika, Kamal Ganguly, Lyrics – Deep Narayan Mitholiya, MD – Bhupen Hazarika
Bhupen Hazarika + Kamal Ganguly
Chorus

Lyrics

insaan insaan ke liye
hmm hmm hmm
jeewan jeewan ke liye
hmm hmm hmm
zaraa si hamdardi ka wo
hmm
kyon haqdaar nahin
o bandhu
insaan insaan ke liye
hmm
jeewan jeewan ke liye
hmm hmm
zaraa si hamdardi ka wo
hmm hmm
kyon haqdaar nahin
o bandhu
insaan insaan ke liye

aa aa aa aa aa
aa aa aa aa aa

insaan insaan ka saudaa kare ae
wo ise rozgaar kare ae
insaan insaan ka saudaa kare
wo ise rozgaar kare
itihaas puraana agar palte
kya sharmaaoge nahin
o bandhu
insaan insaan ke liye ae

kya nuksaan tujhe ae
jeewan ki gehri bhanwar
paar ho tere sahaare ae
kamzor log agar
hmm hmm hmm hmm
kya nuksaan tujhe ae
hmm hmm
jeewan ki gehri bhanwar
paar ho tere sahaare ae
kamzor log agar
hmm hmm
insaan agar na ho insaan
shaitaan kabhi naa hota insaan
insaan agar na ho insaan
shaitaan kabhi naa hota insaan
shaitaan agar ho jaaye insaan
shaitaan agar ho jaaye insaan
kya sharmaaoge nahin
o bandhu

insaan insaan ke liye
hmm hmm hmm
jeewan jeewan ke liye
hmm hmm hmm
zaraa si hamdardi ka wo
hmm
kyon haqdaar nahin
o bandhu
insaan insaan ke liye
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa

————————————————————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————————————————-

इंसां इंसां के लिए
जीवन जीवन के लिए
ज़रा सी हमदर्दी का वो
क्यों हक़दार नहीं
ओ बंधू
इंसां इंसां के लिए
जीवन जीवन के लिए
ज़रा सी हमदर्दी का वो
क्यों हक़दार नहीं
ओ बंधू
इंसां इंसां के लिए

इंसां इंसां का सौदा करे ए
वो इसे रोज़गार करे ए
इंसां इंसां का सौदा करे ए
वो इसे रोज़गार करे ए
इतिहास पुराना अगर पलटे
क्या शरमाओगे नहीं
ओ बंधू
इंसां इंसां के लिए

क्या नुक्सान तुझे ए
जीवन कि गहरी भंवर
पार हो तेरे सहारे ए
कमज़ोर लोग अगर
इंसां अगर न हो इंसां
शैतान कभी ना होता इंसां
इंसां अगर न हो इंसां
शैतान कभी ना होता इंसां
शैतान अगर हो जाए इंसां
क्या शरमाओगे नहीं
ओ बंधू

इंसां इंसां के लिए
जीवन जीवन के लिए
ज़रा सी हमदर्दी का वो
क्यों हक़दार नहीं
ओ बंधू
इंसां इंसां के लिए


What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over TWELVE years. This blog has more than 16100 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2021) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

16174

Number of movies covered in the blog

Movies with all their songs covered =1246
Total Number of movies covered =4402

Total visits so far

  • 14,141,290 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

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